The title of this special issue draws inspiration from Gertrude Stein’s “lively words,” a style of experimental writing that has been influential for many queer and feminist experimental writers. The essays in this special issue will reconsider the “liveliness” of experimental writing in the twentieth and twenty-first century—not only how experimental poetics disrupt codified practices of reading, but also how experimental writers conceive of the relationship between their words and the social world more broadly.
The Editorial Collective of the National Poetry Foundation invites paper and panel proposals for the last in our sequence of "decade" conferences, to be devoted to the Poetry and Poetics of the 1990s, American and international, and to be held from Wednesday to Sunday, June 28 - July 1, 2017, on the flagship campus of the University of Maine System in Orono, Maine.
The pairing of voodoo and literature causes one to immediately think of writers like Charles Chesnutt, Zora Neale Hurston, Ishmael Reed, Toni Cade Bambara, and Jewell Parker Rhodes, as these authors use conjure unequivocally within their literary works. However, voodoo flows more freely in the veins of popular culture than one may realize. Though Christian cultures have largely shunned voodoo as a practice, Western literature has used voodoo as sites of spectacles, moments of revenge, and performances of Africanness. In fact, western literature has a nuanced relationship with voodoo or voodoo aesthetics.
Jordan Peele’s horror film, Get Out (2017) just became the highest-grossing debut project for a writer-director with an original screenplay (beating out the prior holder of that record, Daniel Myrick and Eduardo Sánchez’s 1999 film The Blair Witch Project).
Get Out is not only an enormous box office success but it has won a critical acclaim unusual for a horror film—currently (as of early April, 2017) standing at 99% on Rotten Tomatoes with 225 positive and only one negative review.
This session welcomes abstracts on any aspect of Modern Drama. Paper proposals addressing the SAMLA 89 theme, High Art/Low Art: Borders and Boundaries in Popular Culture, are especially welcome. By June 15, please submit a 250-word word abstract, brief bio, and A/V requirements to Aaron Botwick, The Graduate Center, CUNY, at firstname.lastname@example.org
The 2017 Futures of American Studies Institute at Dartmouth College
MONDAY JUNE 19, 2017 - SUNDAY JUNE 25, 2017.
DIRECTOR: Donald E. Pease (Dartmouth College)
Revisiting the Elegy: Mourning and Resistance
“And there is pause, a breathspace in the strife;/A spirit brave has passed beyond the mists/And vapors that obscure the sun of life./And
Ethiopia, with bosom torn,/Laments the passing of her noblest born.”
Call for papers
Poetry, Race, Gender, and Culture: Reading the Work of Harryette Mullen in the 1990s
We seek papers for a panel devoted to the work of Harryette Mullen for the National Poetry Foundation Conference, “The Poetry and Poetics of the 1990s,” June 28-July 1st 2017. https://nationalpoetryfoundation.wordpress.com/
NYCEA 2017 Conference
Call for Papers
Marking the Margins and Setting the Center
October 20-21, 2017 University of Rochester, Rochester NY.
In partnership with the University of Rochester's Writing, Speaking, and Argument Program
"Minority art, vernacular art, is marginal art. Only on the margins does growth occur." --Joanna Russ.
As the quotation from Joanna Russ--a prominent science fiction author and feminist--indicates, this year's New York College English Association conference is concerned with exploring art, literature, and pedagogy on or around the margins.
Call for Papers: Resonance
University of California, Santa Barbara